Russell Fortunato Project - Passages from the Vault Vol. I

Label: Self released, 2024

Personnel - John Aruda: tenor saxophone; Christophe Bilodeau: piano; Russell Fortunato: bass; Michael Aiello: drums.

Bassist, composer, and bandleader Russell Fortunato discloses previously unreleased material recorded with his flagship project - featuring saxophonist John Aruda, pianist Christophe Bilodeau, and drummer Michael Aiello - in the ‘90s and ‘00s and adds a solo bass track from 2022.

The group launches the set with Coltrane’s “Tunji”, firmly embedded in the sounds of modal jazz and spiritual post-bop. Here, we can savor an intense, tonally-nuanced atmosphere with Aruda in command, as well as some nice deconstruction from Bilodeau, who avoids McCoy Tyner’s mannerisms. “Smart Lava”, from 2009, unfolds with a stop-start melodic outline set against Aiello’s continuous rambunctious drumming. Then, it melts into a swinging jazz plasticity, serving the articulated diction of Aruda, who definitely knows how to make a solo interesting.

“The Matador” and “Two By Four” emerged in 2005. The former affixes a 14-beat cycle groove on the bass, with the piano haloing around the tapestry weaved by bass and drums; the latter swings hard in a headlong rhythmic sprint that nearly shapes as a freebop exercise. Also from that year is the closing piece, “Enchanted (for Pamela)”, a gentle sonic poem that Russell penned for his wife, narrated with lustrous-toned saxophone reflectiveness.

Fortunato also showcases nimble bass contortions in his 2022 solo exploration “The Practicing Nomad”, which complements the quartet tracks with a different perspective. Although not as strong as his previous outings and occasionally grappling with some sound discrepancies, Passages From the Vault Vol. I keeps an attractive energy throughout.

Favorite Tracks:
01 - Tunji ► 02 - Smart Lava ► 06 - The Practicing Nomad

Andy Milne and Unison - Time Will Tell

Label: Sunnyside Records, 2024

Personnel - Andy Milne: piano; John Hébert; bass; Clarence Penn: drums + Ingrid Laubrock: tenor saxophone (#1,4,6,9); Yoko Reikanu Kimura: koto (#2,4,6,9)

Pianist and composer Andy Milne reunites his Unison trio, featuring bassist John Hébert and drummer Clarence Penn, to present the ten captivating compositions that make up Time Will Tell, an album that feels invigoratingly fresh and demands attention. Milne’s previous album, The ReMission (2020), was inspired by his cancer diagnosis, treatment, and cure, but for this new one he was highly influenced by findings related with his biological family, as he was adopted as a child. The addition of illustrious guest musicians, Ingrid Laubrock on tenor sax and Yoko Reikanu Kimura on koto, enriches the sonic landscape, bringing their diverse talents and individual artistic influences to the forefront.

The album opens with the harmonious waltzing cadence of “Purity of Heart”, where Laubrock’s firmly centered tone and Milne’s melodic prowess take center stage. “Lost and Found”, reflecting Milne’s quest to locate his birth mother, introduces Kimura’s koto, adding enigmatic tones and a dark atmosphere that, without anticipation, morphs into a sweeter passage where the melody breathes. Later on the recording, Laubrock joins the quartet for the more straightforward “Lost and Found: Reprise”, which, nonetheless, blossoms in seven.

“Beyond the Porcelain Door” and “Kumoi Joshi” also include saxophone and koto, each offering distinct sonic journeys. The former shapes as a half-dreamy, half-realistic avant-garde procession with a bold rhythmic shift into septuple meter and a malleable bass solo, while the latter, evoking poignancy through the exoticism of sounds, exposes thoughtful saxophone considerations and piano lyricism over a firm lockstep before modulating the surroundings for a fine koto solo.

The trio’s chemistry shines brightly on Penn’s “Papounet”, characterized by an enlivening harmonic progression and a nonuple meter backdrop produced by the regular alternation of five and four beat groups. Commanding the attention, Milne constructs and distorts phrases with impressive pliability. The piano-bass-drums triangle works its way through nicely textured pieces, and the closer, “Apart”, is no exception, delivered with soulful balladic instinct and sensitive brushwork.

Opting for variety under a post-bop umbrella with a special eclectic touch, Milne explores colorful frameworks where the voices of his bandmates become an extension of his own clear and accurate compositional delineations.

Favorite Tracks:
02 - Lost and Found ► 03 - Papounet ► 04 - Beyond the Porcelain Door

Fred Hersch - Silent, Listening

Label: ECM Records, 2024

Personnel - Fred Hersch: piano.

Pianist and composer Fred Hersch, a 17-time Grammy nominee with collaborations alongside jazz legends like Art Framer and Gary Burton, possesses a unique ability to emphasize beautiful melodies within sophisticated harmonizations as well as explore uncharted territory in the moment. These qualities are on full display in Silent, Listening, an introspective solo album that reasserts his stature as a prime pianist with a broad artistic vision.

Presenting brilliantly crafted nocturnals, the set begins with Duke Ellington/Billy Strayhorn’s “Star-Crossed Lovers”, whose narrative process involves poignancy, reflection, and exquisite beauty. Hersch’s original compositions, like “Night Delight” and “Akrasia”, are equally captivating, where something is always transpiring, even in the quietest of the moments. The former, hazy and secretive, immerses us in a baffling, inconclusive dream, while the latter dreams up mysterious shadows, with Hersh anchoring austere pulsations on the lower register while coloring bucolic impressionistic landscapes several steps higher in pitch.

Breaking away from convention, the pianist explores new realms and finds new spaces on openly improvised numbers like “Aeon”, where he traverses the keyboard to express intriguing findings, and “Volon”, whose prevailing stillness is interrupted by sudden bursts of movement. On the other hand, “Little Song”, originally written for his duo collaboration with Italian trumpeter Enrico Rava, introduces a palpable rhythm and harmony into a streamlined musical form.

The music continues to soar with inspired renditions of Sigmund Romberg’s “Softly As In a Morning Sunrise”, which Hersch immediately associates with saxophonist Sonny Rollins, and Alec Wilder’s haunting ballad “Winter of My Discontent”. This is where the most straightforward lyricism touches the soul. 

Hersch always evokes sincerity and emotion with his piano playing, and Silent, Listening is one of his most worthy solo albums in recent years.

Favorite Tracks:
01 - Star-Crossed Lovers ► 03 - Akrasia ► 11 - Winter of My Discontent

Dave Douglas - Gifts

Label: Greenleaf Records, 2024

Personnel - Dave Douglas: trumpet; James Brandon Lewis: tenor saxophone; Rafiq Bhatia: guitar; Ian Chang: drums.

Renowned trumpeter and composer Dave Douglas has been a stalwart presence in the modern jazz scene for several decades. For this date, comprising new original material and four Billy Strayhorn classics, he’s joined by open-minded associates such as saxophonist James Brandon Lewis (on half the tracks), guitarist Rafiq Bhatia (making his fourth appearance in Douglas’ projects), and drummer Ian Chang. The latter two, members of the experimental/post-rock trio Son Lux, anchor the the nimble soloing of the two-horn frontline, showcasing their strong rapport. Together, they create a strangely beautiful symmetry with Gifts, a celebration of the blessings of life and music.

The title track traverses an atmospheric landscape, accented by metallic percussion and ethereal, powdery electronics. The trumpet combines prodigiously with the guitar in a theme that leads to a slow modal procession enriched with expressive idiosyncrasies. Lewis and Douglas blow up a storm in their free-flowing improvisations. While the saxophonist delivers a soulful performance, the trumpeter explores a rich post-bop dialect over Bhatia’s sumptuous chordal work. Later on, the guitarist adds a drone-sustained backdrop for himself, dropping a magical noir-inspired improvisation. 

Also among Douglas’ standout compositions is “Seven Years Ago”, a previously unrecorded piece from 2017, providing a compelling narrative with a plodding rhythm on the verge of expansion, conciliatory unison lines, and improvisatory fluency. “Small Bar” is another tensely dynamic ear-catcher, a trio effort that prominently features Bhatia. He sets the tone with harmonics, breezy delay effects, and a modernistic world music flavor that seamlessly transitions into distorted walls of sound reminiscent of prog-rock. Here, he even tosses bass lines, creating a walking pavement for Douglas’ philosophical musings.

If “Kind of Teal” evinces strong blues and rock n’ roll connotations, eventually opening windows to soft-rock-meets-jazz views, then Strayhorn’s “Take the A Train”, with a curiously altered main melody, takes the rock power further with originality, joy, and awesome interplay. Also penned by Strayhorn, “Rain Check” emits a positive vibe, “Blood Count” shifts from intelligent balladry to moderately ominous fusion with Bhatia soloing over Chang’s agitated drumming, and “Day Dream” offers bustling trumpet-over-drums moments.

Gifts offers a diverse array of moods and textures across its tracks to keep you alert and engaged throughout. This formidable trio, occasionally expanding to a quartet, is undoubtedly deserving your attention.

Favorite Tracks:
01 - Gifts ► 07 - Seven Years Ago ► 08 - Small Bar

Jamie Baum Septet+ - What Times Are These

Label: Sunnyside Records, 2024

Personnel - Jamie Baum: flutes, spoken word; Jonathan Finlayson: trumpet, spoken word; Sam Sadigursky: alto saxophone, clarinet, bass clarinet; Chris Komer: french horn; Brad Shepik: guitar, singing bowls; Luis Perdomo: piano; Fender Rhodes; Ricky Rodriguez: acoustic and electric bass; Jeff Hirshfield: drums // Guests - Theo Bleckmann: voice (#4); Kokayi: voice (#6); Sara Serpa: voice (#5,7,8); Aubrey Johnson: voice (#3,6,9); Keita Ogawa: percussion (#1,3,10).

During the pandemic confinement, flutist Jamie Baum, renowned for her modern artistic vision and noble artistic conscience, found inspiration in poems posted on Bill Moyers’ website, composing music that responded to the challenges of the time. Her fifth septet album, What Times Are These, was orchestrated with specific voices in mind, encapsulating this response to the pandemic.

Bookending the album, both featuring the percussive talents of Keita Ogawa, are “In the Light of the Day” and “In the Day of Light”, related yet distinct in sound. The opener introduces a repetitive piano note and regular chiming vibration before low-pitched melody inundates the bustling pulsation created by the collective’s forward motion. Before the strong counterpoint returns, you can indulge in head-spinning solos from Baum and trumpeter Jonathan Finlayson. The closing piece completes the whole cycle, smoothly surfing in polished waves of funk and percussive juxtaposition, with pianist Luis Perdomo taking the spotlight.

Among the highlights is “An Old Story”, a funk crusade where Finlayson reads a poem by Tracy K. Smith and explores rhythmic figures within his sophisticated brass terminology. Vocalist Aubrey Johnson also puts chromatic and intervallic boldness to good use. “In Those Years” features Theo Bleckmann’s luminous vocal work and a compelling, energetic alto statement by saxophonist Sam Sadigursky, while “Dreams” offers a half-grounded, half-provocatively loose experience touched by magical counterpoint and nice melody. 

Portuguese singer Sara Serpa shines on “My Grandmother in the Stars”, demonstrating vocal, facility, plasticity, and range. The song’s featured poem by Naomi Shihab Nye about her grandmother in Palestine deeply resonated with Baum, who dedicates this 7/4 excursion to her dementia-affected mother, Edie. On a completely different register, Kokayi introduces “Sorrow Song” with words of wisdom and hip-hop energy. Despite the title and Lucille Clifton's poem about war-victimized children, this groovy funk act feels more uplifting than desolating. The awesome melodicism and sound of guitarist Brad Shepik sparkles not solely within this realm but also on “To Be of Use”, a vehicle for key shifting and intricate meter.

The Jamie Baum Septet+ breathes as a unit while also encouraging the individualism of its members and guests. In addition to the power of words, the universal language of sounds envelops the listener with arrangements that include lustrous textures and tight grooves.

Favorite Tracks: 
01 - In the Light of the Day ► 03 - An Old Story ► 04 - In Those Years

Melissa Aldana - Echoes of the Inner Prophet

Label: Blue Note Records, 2024

Personnel - Melissa Aldana: tenor saxophone; Lage Lund: guitar; Fabian Almazan: piano; Pablo Menares: bass; Kush Abadey: drums.

In her seventh album as a leader and second on Blue Note Records, titled Echoes of the Inner Prophet, Chilean-born, New York-based saxophonist Melissa Aldana presents eight sonic reflections that encapsulate her personal journey. Here, she reunites with the same crew that contributed to the acclaim of 12 Stars (Blue Note, 2022): Norwegian guitarist Lage Lund, bassist Pablo Menares, and drummer Kush Abadey. The sole exception is Sullivan Fortner who passed the piano chair to Fabian Almazan.

The album opens delicately with the title track, a homage to Wayne Shorter, resonating in shades of pastel and reminiscent of Alice Coltrane's spiritual kindness. This leads seamlessly into “Unconscious Whispers”, characterized by airy passages and edgy tonal ranges, with hints of Latin influence, also evident in “The Solitary Seeker”, where a slight Brazilian rhythmic balance is felt. Aldana and Almazan deliver intense performances on these tracks, while Lund shines on “A Story”, exuding sultry elegance with a Metheny-esque crossover jazz appeal. 

The guitarist boasts a great sound throughout, whether building colorful texture or melodic single-note phrases, contributing “I Know You Know”, a radiant sunshine sympathetically crafted with sharp expression. Conversely, Menares’ “Ritual” provides haunting balladry with its evocative and atmospheric tones, while Aldana’s “Cone of Silence”, a dedication to recording engineer James Farber, is distilled with emotional poignancy, tempo subtleties, and timbral precision. Before that, “A Purpose” brings jazz in the heart of a gracious post-bop act buoyed by the ambitious sweep of solos from the bandleader, Lund, and Almazan.

Aldana emerges as a more mature saxophonist, presenting a cerebral style that blends subtle idiomatic combinations with personal emotions. Her new album provides an easy listening experience that, going deep, never succumbs to the potential pitfalls of sentimentality.

Favorite Tracks:
02 - Unconscious Whispers ► 04 - The Solitary Seeker ► 07 - Cone of Silence

Keisuke Kishi - Midpoint Cafe

Label: Self released, 2024

Personnel - Andrew McGowan: piano (#1,2); Calvin Johnson: saxophone (#1,2); Jun Sugiura: Piano (#3,4,5); Nori Naraoka: bass (#1,2,4,5); Keisuke Kishi: drums.

Keisuke Kishi's concise sophomore album, Midpoint Cafe, serves as a sonic reflection of his captivating road trip through Texas, Arizona, and Utah in 2021. Currently based in Hawaii and New York, Kishi deftly navigates between a saxophone quartet and a piano trio, channeling the emotions and experiences of his travels into his music with a sense of yearning..

The protean title track, “Midpoint Cafe”, alludes to the neutral midpoint of Route 66, ebbing and flowing with a gentle pulse on the piano and a beautiful dark intonation coming from the tenor saxophone. It changes unexpectedly into swinging walk for pianist Andrew McGowan’s solo, followed by bassist Nori Naraoka and tenorist Calvin Johnson. The latter enjoys a denser, circular flux that veers again into a cool, atmospheric beat as it keeps shaping around the music without overwhelming it. 

“Santa Fe 7’198” begins with a straight-eight feel, interrupted by a folksy passage with piano forte, and then falls into a more introspective awareness with Kishi imposing a loosened up rhythm that conjures up Makaya McCraven and Robert Glasper’s styles. “We Saw Him” brings more ambiguity as if it was probing something hidden from sight, depicting a strange encounter with a homeless Native American. It’s a duo effort with pianist Jun Sugiura (they go by the name Drizzle), featuring ritualistic tom-tom activity that intensifies before expanding to cymbals. 

The trio pieces also create interesting atmospherics, namely the picturesque “Inside Utah” and the short-lived closer “New Days”, whose dreamy state - built with arpeggiated piano, bursting drums, and arco bass solemnity - captivates but could have been further deepened in its sustained lyricism. Midpoint Cafe stands as a honest album in its truest form, showcasing Kishi’s rhythmic aptitudes while painting evocative landscapes through music.

Favorite Tracks:
01 - Midpoint Cafe ► 03 - We Saw Him

Charles Lloyd - The Sky Will Still Be There Tomorrow

Label: Blue Note Records, 2024

Personnel - Charles Lloyd: saxophones, flutes; Jason Moran: piano; Larry Grenadier: double bass; Brian Blade: drums.

In The Sky Will Still Be There Tomorrow, the unmistakable, soulful sound of saxophonist Charles Lloyd resonates through the exquisite tapestries crafted by his quartet mates: pianist Jason Moran, bassist Larry Grenadier, and the newly joined, seasoned drummer Brian Blade. This double-disc release epitomizes a remarkable convergence of advanced musical minds.

“Defiant, Tender Warrior” opens the album in a relaxed, breathable 4/4 tempo, marveling at its vamping spiritual melody while Blade’s radiant percussive moves show to be a wonderful fit. Moran brings shuffling, harmonically vivid pianism into “Monk’s Dance”, Lloyd’s homage to the late Thelonious Monk, navigating a modern stride before launching an assertive solo over a swinging progression. Moments before, Lloyd had showcased his potential for fresh discoveries, employing his signature style phraseology pelted with sublime arpeggio coloration.

In the duo performance of “Lift Every Voice and Sing”, a Black hymn dating back to 1900 by J.W. Johnson, Lloyd and Moran achieve ecstatic catharsis through their lyrical interplay and responsive dynamics. “Booker’s Garden”, dedicated to saxophonist Booker Little, features dulcet flute filigree, molding into a gentle spiritual dance. On “The Ghost of Lady Day”, the iconic jazz singer Billie Holiday is honored in a sweetly lazy affair played with a nocturnal rubato before veering into expressionist avant-garde territory. Strangely, it oozes emotional intensity and intriguing mystery.

Another rubato peregrination, “Sky Valley, Spirit of the Forest”, seems indifferent to form but meticulous in tone, traversing from vagueness to illumination. The title cut stands as a program highlight, with Lloyd’s tenor sax swooping and soaring - both in and out of focus - over Blade’s sharp reflexes. The entrance by Moran is out of this world, and the communication proceeds with as much distinction as logic. There’s also a gospelized piano passage and a fading vamping groove that leads to the ending.

“Cape Cairo”, an older tune retrieved from Lloyd’s cherished album All My Relations (ECM, 1995), emerges as another favorite, with the rhythm section conjuring hair-raising dreamlike tones as Lloyd's saxophone weaves an enchanting melody from start to finish. Charles Lloyd, a living jazz legend, showcases a sophisticated hybrid of post-bop, spiritual energy, and eclectic avant-garde jazz, producing another extraordinary album destined to be included on numerous ‘best of’ lists.

Favorite Tracks:
01 (CD1) - Defiant, Tender Warrior ► 03 (CD1) - Monk’s Dance ► 08 (CD1) - The Sky Will Still Be There Tomorrow ► 06 (CD2) - Cape Cairo

Ernesto Cervini's Turboprop - A Canadian Songbook

Label: TPR Records, 2024

Personnel - Joel Frahm: tenor saxophone; Tara Davidson: alto saxophone; William Carn: trombone; Adrean Farrugia: piano; Dan Loomis: bass; Ernesto Cervini: drums.

Ernesto Cervini, a drummer/composer from Toronto and JUNO award winner, pays tribute to Canadian songs and artists with A Canadian Songbook, featuring his Turboprop sextet. This third outing comprises seven tracks, including two originals and five covers, where the adventurous ensemble shines.

The opener, James Hill’s “Skeletons” showcases the group at its bravest. It’s a structurally interesting piece underpinned by a skittering EDM-inspired rhythm intertwined with divergent rubato passages. It’s also a furious, blowing vehicle for the horn section - altoist Tara Davidson, trombonist William Carn, and tenorist Joel Frahm - whose exchanges are caught in a spiral of joyful and energetic purpose. 

The following track, Barenaked Ladies’ “When I Fall” is a circular 3/4 pop/rock song comfortably harmonized by bassist Dan Loomis who, locking up with Cervini, serves Carn’s opening solo before making a statement of his own. The piece climaxes with Frahm’s tenor statement, a perfect blend of emotion and vibrancy. 

Somehow recalling the music of Mulgrew Miller and Branford Marsalis, “Aureole”, penned by alto saxophonist Allison Au, expands the musical palette into a cerebral if extroverted post-bop that swings with a modern mainstream vibe. Its strong sense of texture stands out.

Cervini’s own compositions, “If, Then” and “Stuck Inside”, display contrasting postures. The former combines snare fluxes and staccato moves, first unfolding in 5/8 before shifting in tempo, while the latter sprawls with a more familiar jazz progression delivered with symmetry and balance.

While this is not Cervini’s best recording, it serves as a finely honed reflection on the Canadian music scene, showcasing the collaborative energy of his ensemble throughout.

Favorite Tracks:
01 - Skeletons ► 03 - When I Fall ► 06 - Aureole

Chris Potter - Eagle's Point

Label: Edition Records, 2024

Personnel - Chris Potter: tenor and soprano saxophones, bass clarinet; Brad Mehldau: piano; John Patitucci: bass; Brian Blade: drums.

Possessing advanced musical skills and a kaleidoscopic vision, saxophonist and composer Chris Potter has recently cycled through different small-group formats. For his new outing, Eagle’s Point, he gathered a super quartet whose members, all outstanding bandleaders and valuable sidemen with whom he first collaborated in the ‘90s, take his music to places with joy and an incredible rapport. Lending him key support here is pianist Brad Mehldau, whose melody-centric approach is not devoid of rhythmic nuance, well-versed bassist John Patitucci, and charismatic drummer Brian Blade. Together, they weave tapestries of color, poise, and energy. 

Launching the album into motion, “Dream of Home” expresses nimble saxophone lines, excitable bass temperament, and taut, anxiety-laden drumwork. Potter’s authoritative solo sparks with unbounded energy, and his post-bop maturity is also reflected on the impeccably articulated title track, “Eagle’s Point”, a showcase for a serene bass groove in six, a motivic phrase that slides effortlessly across octaves, and a gutsy tenor solo undaunted by outside playing. Mehldau imposes a polychromatic feel in his striking statement, and Blade enjoys intermittent bars of freedom before the theme reinstatement. 

Throughout the album, the quartet's unique perspectives cross with disentanglement and ingeniousness. Pieces like “Indigo Ildikó” and “Other Plans”, both mindfully adjusting tension and resolution, offer introspective observations. The former stands as an emotive ballad with vaulting arcs of yearning melody delivered on bass clarinet, while the latter shapes as an elegant Bill Evans-esque waltz.

“Cloud Message” features excellent bass playing and loose contemporary swinging spin, with Mehldau responding assertively to Potter’s accentuations.“Malaga Moon” unfolds with an irresistible 7/4 groove, provoking, surprising and then finally convincing before taking us to the celebratory closer, “Horizon Dance”, whose buoyant groove and liberating style hits the mark.
Potter and his quartet harmonize with a sense of urgency and refined melodic tract, and Eagle’s Point finds them as vital as ever.

Favorite Tracks:
01 - Dream of Home ► 04 - Eagle’s Point ► 08 - Horizon Dance

John Surman - Words Unspoken

Label: ECM Records, 2024

Personnel - John Surman: soprano and baritone saxophone, bass clarinet; Rob Luft: guitar; Rob Waring: vibraphone; Thomas Stronen: drums.

English multi-reedist John Surman makes a captivating return with this quartet album, Words Unspoken, featuring bandmates guitarist Rob Luft, vibraphonist Rob Waring, and Norwegian drummer Thomas Stronen. The title aptly reflects the group’s approach to music, and the words intuition and illumination come to mind whenever the pragmatic harmonic circularity of Surman’s modal pieces is on display as well as the outstanding improvisational prowess of all band members.

There’s an ancient allure in this music that compels listeners to search as they navigate vivid sonic landscapes, both real and imaginary. The timbral hues are varied, and “Pebble Dance” sets the stage with its intriguing blend of vibraphone dexterity, ambient guitar chords, and delicately brushed drums, establishing a hypnotic groove in 5/4 tempo. Surman shines brightly in a magnificent soprano saxophone solo, showcasing freedom, speed, and agility. The touching title track, “Words Unspoken”, discloses a more introspective side, as Surman delivers emotive baritone saxophone melodies against a backdrop of gently spinning celestial particles.

“Flower in Aspic” kicks off with reverb-drenched guitar, echoing with grace while having all musicians sharing an intrinsic connection with stability and resolution. “Around the Edges” exudes a mysterious aura, inviting us to unlock a forgotten dimension. The folksy “Onich Ceilidh” dances with exhilarating waltzing movements, having Stronen’s understated clutter enhancing the irresistible textural spell of the rhythm section.

Both “Belay That” and “Hawksmoor”, melodically anchored by Surman’s bass clarinet, offer a departure from the prevalent modal mood. The former denotes magnetic jazzy and bluesy inclinations, while the latter shows off a playful theme marked by staccato accents and a swinging cultivation underneath.

The album’s perfect blend of sounds manifests Surman’s consummate musicality and artistic vision. Words Unspoken is another winning album in a catalog full of them.

Favorite Tracks:
01 - Pebble Dance ► 02 - Words Unspoken ► 08 - Belay That

Joel Ross - Nublues

Label: Blue Note Records, 2024

Personnel - Joel Ross: vibraphone; Immanuel Wilkins: alto saxophone; Jeremy Corren: piano; Gabrielle Garo: flute (#4,5,6); Kanoa Mendenhall: bass; Jeremy Dutton: drums.

Joel Ross, hailed as one of the most electrifying vibraphonists of the contemporary jazz scene, reunites his Good Vibes band for a captivating new recording mostly centered on blues and ballads, and where he mixes in seven new originals with timeless classics from John Coltrane and Thelonious Monk. This is his fourth album on Blue Note, one confirming that he always finds new things to say regardless the musical context. 

The album opens with the magical dawning aura of “Early”, a modal reflection where each note resonates with tender compassion before transitioning into Coltrane’s minor blues “Equinox”. Moved by the slow swing feel of the tune, Ross and altoist Immanuel Wilkins display their quality melodicism throughout their demonstrative solos, with drummer Jeremy Dutton adding nimble-footed expansions in the final segment.

The multi-sectional journey of “Mellowdee” is a ballsy move with graceful unisons, tense crescendos, a breezy post-bop passage where Wilkins and Ross trade off bars, and a meditative reflection containing grim arco bass and pensive piano contemplation. It ends up in a ternary vamp with active snare ruffling and a reiterated saxophone catchphrase that gradually slows down. 

The evocative flute of Gabrielle Garo is featured on three pieces, namely: “Chant”, a layered duet with Ross on piano; “What Am I Waiting For?”, where sax, flute, and vibes dance together in perfect communion atop subdued bass accompaniment and soft brushing skins; and “Bach (God the Father in Eternity)”, affably harmonized with classical and gospel influences.

In “Nublues”, Ross explores the essence of blues freedom, his vibraphone cascading with chiming reverberation until reaching a dewy avant-jazz kineticism alongside his bandmates. Their interplay remains unwavering until its conclusion. “Ya Know?” exemplifies another spirited blues delivery with outgoing personality. Swinging beautifully, this selection exhibits the right amount of tension, mostly discharged during the hard-driving solos.

At once dynamic and accessible, the group delves into nuanced straight-ahead jazz on the last two tracks: Monk’s “Evidence”, which flows with disarming manipulations of tempo, and Coltrane’s bemusing 10-bar form ballad “Central Park West”, featuring Wilkins in top form.

Favorite Tracks:
01 - Early ► 03 - Mellowdee ► 07 - Nublues

The Choir Invisible - Town of Two Faces

Label: Intakt Records, 2024

Personnel - Charlotte Greve: alto saxophone, voice; Chris Tordini: acoustic bass; Vinnie Sperrazza: drums. Guests: Fay Victor: voice (#5).

The Choir Invisible emerges as a newfangled, harmony-less trio hailing from Brooklyn, comprising German-born saxophonist Charlotte Greve, bassist Chris Tordini, and drummer Vinnie Sperrazza. Infusing nuanced rhythmic detail, to-the-point melodies, and a seamless fusion of jazz and rock elements, the trio strikes a harmonic balance and stylistic coherence in their quietly moving sophomore release, Town of Two Faces.

Greve’s composition “Membrane” springs to life with a stealthy bass intro, setting the stage for a narrative rich in thematic tonal shifts, fluid jazz sensibilities, and the steadfastness of rock. “In Heaven”, originally penned by Peter Ivers with lyrics by David Lynch for the latter’s cult film Eraserhead, is a meaty rock song taken to another realm by guest avant-garde jazz singer Fay Victor and powered by a vibrant alto solo.

Greve takes the spotlight in her “Town of Two Faces”, a reference to New Orleans where she sings and also intones logical saxophone lines with both hope and fragility. Tordini’s “21 Years” exudes a sense of positive determination, showcasing his deep, centered bass work along with nice saxophone melodicism and converging drumming for a great atmosphere. “Lockwood”, on the other hand, is sturdy in the pedal points at both ends and effectively diffuse in its exploratory middle section.

Another Tordini composition, “17 East”, swings distinctively, having the bassist exploring groove nuance with rhythmic autonomy. “Stones Covers”, the first of three compositions penned by Sperrazza, propels forward with a pulsating backbeat and just enough bass notes to become harmonically clear. Greve, an excellent melody maker, is impeccably backed by the supportive rhythm section. 

The Choir Invisible achieves an elegant, soulful fluency that invites listeners to unravel some ambiguity but also discern consummate ideas that develop with exquisite taste toward many possibilities. It’s a strong come back from this well-oiled trio.

Favorite Tracks:
01 - Membrane ► 03 - 21 Years ► 04 - Stones Covers

James Brandon Lewis Quartet - Transfiguration

Label: Intakt Records, 2024

Personnel - James Brandon Lewis: tenor saxophone; Aruan Ortiz: piano; Brad Jones: bass; Chad Taylor: drums.

James Brandon Lewis, a sensational saxophonist with musical resources that transcend various musical scenarios, unveils Transfiguration, his fourth album leading a quartet featuring Cuban-born pianist Aruan Ortiz, bassist Brad Jones, and drummer Chad Taylor. Echoes of Coltrane, Shepp, Rollins, and Ayler reverberate throughout the album, infused with Lewis’ own energy as he navigates harmonic tapestries with unwavering confidence.

The title track, an exploration of 12-tone music, pulsates with a polyrhythmic feel and a modal sense of urgency, exhibiting a grandiose theme statement, a tour-de-force tenor discourse, and agile accompaniment. Ortiz brings a bit of McCoy Tyner’s fantasy to the setting, adding inventiveness in the upper register before a mantric final vamp. “Trinity of Creative Self” unfolds as a rubato ballad, anchored by Jones’ austere arco bass and Taylor’s uninterrupted rhythmic stream.

The early bass notes in “Swerve” create a patterned odd-metered figure in support of a strong blues incarnation referencing atomic motion. In turn, “Per 6”, inspired by circadian rhythms, flows at a caravan-like pace, dressed in smooth, well-knitted Eastern fabrics.

Lewis demonstrates keen phraseology, occasionally stretching the timbral possibilities of his instrument. He pays homage to American painter and sculptor Jack Whitten with “Empirical Perception”, a piece characterized by static yet intense modal explorations, and to French philosopher Henri Bergson with the fervently expressed “Élan Vital”, which culminates in a gospel-infused, four-chord jazz sequence. 

Notably, “Triptych” stands out with its sophisticated chordal work, a strong melodic formula with three sets of four notes, crisp solos, and a synchronously crafted finale. It’s definitely a highlight of the album. In the usual way, the performance of Lewis’ singled-out quartet is invested with imaginative intuition and unity.

Favorite Tracks:
01 - Transfiguration ► 04 - Per 6 ► 07 - Triptych

Ethan Iverson - Technically Acceptable

Label: Blue Note Records, 2024

Personnel - Ethan Iverson: piano; Thomas Morgan: bass; Simón Wilson: bass; Kush Abadey: drums; Vinnie Sperrazza: drums.

The second Blue Note output by pianist and composer Ethan Iverson, titled Technically Acceptable, showcases his artistry in two exhilarating trios alongside emerging talents. Devotees of Iverson's music are well aware of his ability to infuse tradition with a modern touch, whether crafting an original composition or interpreting a classic standard. His style here, drawing from various epochs in jazz history, demonstrates a renewed assurance in dealing with rich melodies and sublime harmonies.

The first seven tracks feature bassist Thomas Morgan and drummer Kush Abadey. The trio starts with the enticing “Conundrum”, an introductory bait with firm rhythmic accentuation, ample harmonic power, uplifting melody, and some classical nuances towards the conclusion. As a Brubeck-inspired piece, “Victory is Assured (Alla Breve)” introduces a rare moment of levity, bracing the listeners for an empathetic rhythmic quality that evokes Kansas City blues. 

“Technically Acceptable”, a soulfully swinging hard-bop-infused composition, echoes in the pocket with the coolest of tempos. Here, Iverson’s unequivocal lines wiggle joyously over the rhythm changes in the form of fluid phrases and motifs. “The Way Things Are”, at some point, recalls “I Get a Kick Out of You”, while “It’s Fine to Decline” sees the trio switching gears as they opt for a lilting avant-garde setting that echoes the pianistic sensibilities of Jaki Byard, Mal Waldron, and Herbie Nichols. 

The collaboration with bassist Simón Wilson and drummer Vinnie Sperrazza yields exceptional results, especially evident in two covers: a stripped-down, captivating rendition of “Killing Me Softly with His Song”, and a nuanced, epic interpretation of Monk's “Round Midnight”, featuring an impressive theremin melody, courtesy of pianist Rob Schwimmer. You’ll find ethereal moments of spectacular tonal range on this one.

The album concludes with a solo three-movement piano sonata. It’s an outstanding through-composed work with inventive etudes in style, showing off Iverson’s mastery on the keyboard. “Piano Sonata: Allegro Moderato” is audacious in tempo and imbued with bluesy chops and stride jazz; “Piano Sonata: Andante” is delicately crafted and confidently paced; while “Piano Sonata: Rondo” presents a classical conception but with a heap of surprising twists.

Iverson's adept navigation of various stylistic approaches and transitions within the program reinforces his status as a strong-willed artist whose musicality has only deepened over time. The album's significance lies in his fascinating blend of discipline and freedom.

Favorite Tracks:
06 - It’s Fine to Decline ► 09 - Round Midnight ► 11 - Piano Sonata: Allegro Moderato

Abdullah Ibrahim - 3

Label: Gearbox Records, 2024

Personnel - Abdullah Ibrahim: piano; Noah Jackson: double bass, cello; Cleave Guyton Jr.: flute, piccolo.

The legendary South African pianist and composer, Abdullah Ibrahim, is heard leading a trio - with members of his EKAYA band: bassist/cellist Noah Jackson and flutist Cleave Guyton Jr. - in a double album that captures music in different contexts. The first disc consists of six originals recorded without an audience ahead of a concert at London’s Barbican Centre in 2023. The second disc is the concert itself, featuring a blend of original compositions and covers.

Expressing himself with distinctive idioms, Ibrahim flows calmly, benefiting from the wholehearted accompaniment of his peers, who tackle old tunes like “Tswake” and “Ishmael” on their own. The former starts with a flurried bass, and the flute imparts a pronounced bluesy and jazzy feel, while the latter revolves around a central bass groove. To contrast these piano-less numbers, “Krotoa-Crystal Clear”, previously included in the album Mukashi - Once Upon a Time (Sunnyside, 2014) - takes the form of a solo piano meditation with rich, exquisite harmonies sustaining quietly poignant melodies where emotions flow effortlessly.

The opening track, “Barakat”, rests in a slow movement characterized by grace, elegance, and space. The flute takes center stage, complemented by an enriching cello operating on the groove side but also melodic at times. “Marába” is a reverential African folk song delivered with a delicate touch, positive attitude, and gentle rhythm. The first half concludes with the meditative classic “Mindif”, at once beautiful and heartbreaking.

The second disc includes not only well-known Ibrahim compositions like “Water From an Ancient Well”, “The Wedding”, and “Nisa”, but also renditions of tunes by Duke Ellington (“In a Sentimental Mood”), John Coltrane (“Giant Steps”), and Thelonious Monk (“Skippy”).

Nothing really burns intensely on Ibrahim’s latest release but the music, possessing healing powers, maintains its flow with a refined gloss that reflects the heritage, unique playing, and masterful compositional prowess of a great artist.

Favorite Tracks (Disc One):
01 - Barakat ► 04 - Marába ► 06 - Mindif

Rich Halley - Fire Within

Label: Pine Eagle Records, 2023

Personnel - Rich Halley: tenor saxophone; Matthew Shipp: piano; Michael Bisio: bass; Newman Taylor Baker: drums.

Fire Within, the fully improvised third recording by Rich Halley with the trio of pianist Matthew Shipp - featuring bassist Michael Bisio and drummer Newman Taylor Baker - unfolds as a speculative fiction, coherently weaving elements from both the past and the present. 

Rooted more in the earthy than the cosmic, the album opens with the title track, “Fire Within”, where Halley unleashes feverish Coltrane staples against the instinctive drive of the rhythm section. Shipp, swinging along with inventive pulsations and advanced melodic and harmonic approaches, reaches epic proportions in his comping when Halley takes the lead. Baker seizes an unaccompanied moment, bringing his carefully chosen timbres and excellent technique to the fore prior to the beautiful melodicism that concludes the piece.

On “Inferred”, the meticulous and devotional bass work by Bisio comes first, and the piece evolves from balladic tones to a more vigorous, busy, and highly explorative passage with intensive saxophone blows. Shipp follows with a piano monologue, validating his status as a progressive thinker and the source of many propulsive motions.

While “Through Still Air” invites musing reflections with smooth, cerebral playing, “Angular Logic” takes on a dancing quality, digging in deep and never letting up. You’ll find marching routines in Baker’s snare moves, with Shipp interjecting lower-register harmonic chunks and bewildering right-hand whirls in his mercurial exploration of rhythmic cadences.

Aptly titled, “Following the Stream” kicks off with well-rounded drums before acquiring a loose feel, at times impetuous. A lilting breeze is embraced when Shipp is at the helm, and Halley joins the invitation, throwing in motifs. The piece ends with lines and accentuations reminiscent of Coltrane and Art Blakey, respectively.

Halley adeptly navigates textures with genuine sensibility, while the rhythm team surprises listeners with their ability to intuitively connect. Fire Within brims with contagious ideas, showcasing the synergy and creativity of the quartet.

Favorite Tracks:
01 - Fire Within ► 02- Inferred ► 03 - Angular Logic

Jon Irabagon's Outright! - Recharge the Blade

Label: Irabbagast Records, 2024

Personnel - Jon Irabagon: soprano saxophone; Ray Anderson: trombone; Matt Mitchell: piano, Fender Rhodes, Moog model D; Chris Lightcap: acoustic and electric bass; Dan Weiss: drums; Ben Monder: guitar (#10); Chris Cash: drums, bass, guitar, programming (#12); Trans-Atlantic Line Cigar Lounge All Stars (#12).

The remarkable saxophonist, Jon Irabagon, makes a triumphant return with his Outright! project, delivering yet another epic album that seamlessly follows the success of its predecessors, Outright! (2008) and Unhinged (2012). Undergoing its third lineup change, the ensemble keeps featuring outstanding musicians and improvisers, now including trombonist Ray Anderson, Matt Mitchell on keyboards, Chris Lightcap on bass, and Dan Weiss on drums. The collaboration produces rich and intense musical moments, further elevated by additional skilled musicians.

The core quintet works through a compelling program, presenting a nine-part suite titled Recharge the Blade, and is enlarged with guests on two numbers of the multi-colored War Trilogy. Irabagon and his associates boldly jump out of the box with “Kilgrave Part 1”, where angular piano forms and eerie soprano whispers are complemented by candid trombone expressions. This sets the stage for “Blood Eagle”, a hard-swinging romp filled with pure fire, with bassist and drummer locked in, and the horn players immersed in exciting extravagance. The piano adds an extra layer of clarity, engaging in counter-action comping during Anderson’s statement. Then, Irabagon’s smearing scorcher of a soprano solo takes the forefront, followed by Weiss’ stylish drum chops and Mitchell’s dynamic contours on the Rhodes, all layered over a thumping funk bass groove and a hi-hat/snare-driven flow. 

While “Keelhauling” explores freewheeling avant-garde territory with circularity at its peak, the balladry of “Nightshade” invokes the easy gliding melodicism of Wayne Shorter before transitioning into a hip-hop rhythm with M-Base vibes. “Kilgrave Part 2” loosely echoes Coltrane, leading into “Recharge the Blade”, a playful neo-bop meets New Orleans dixie exercise crafted with powerful unisons and confident split-ups. The solos, synergistic and abrasive, overflow with glistening cascades and dramatic swells. Also contrasting,“Trés Bechet” glows in romantic bolero style as if lit from within, while the motivic “Tsar” propels itself with open-space energy, culminating in ecstatic explorations outside the norms. 

The album reaches its pinnacle with The War Trilogy, where the blooming first movement, “Quarum Call”, features the atmospheric quirkiness and noise density of guitarist Ben Monder. He feels at home in the company of Weiss’ abrasions of wood on skin. “We’ll Meet Again”, penned by Hugh Charles and Ross Parker in 1939, is offered as a soprano/piano duet, serving as a bridge to “Welcome Parade”, a surprising if divergent R&B/soul-jazz-influenced track featuring multi-instrumentalist Chris Cash and the monumental Trans-Atlantic Line Cigar Lounge All Stars.

As a strikingly original player with an imaginative vision, Irabagon keeps his music refreshingly focused but also bursting with freedom. Not a single dull moment is found in this opus, where the members of the group showcase their extraordinary rapport.

Favorite Tracks:
02 - Blood Eagle ► 08 - Tsar ► 10 - Quarum Call

Tima Volozh - Jubilee

Label: Shifting Paradigm Records, 2023

Personnel - Timo Vollbrecht: tenor saxophone; Noah Franche-Nolan: piano; Brad Shepik: guitar (#2,3,6); Jerome Harris: bass; Tima Volozh: drums.

Russian-born, Brooklyn-based drummer and composer Tima Volozh introduces his debut album, Jubilee, featuring a compelling blend of originals and skillfully arranged covers. Collaborating with talented musicians - German saxophonist Timo Vollbrecht, Canadian pianist Noah Franche-Nolan, and veteran American bassist Jerome Harris - the quartet, occasionally expanded to a quintet with the addition of guitarist Brad Shepik, crafts a collective sound that is both sophisticated and pleasing.

“Adoration of the Earth” has Volozh setting the beat and tone for the catchy saxophone riff from where the language expands. Although borrowing from Stravinsky’s iconic piece The Rite of Spring, this is a cut delivered with strong personality and cohesion. “Vortex” is elegantly expressed with innate post-bop consciousness, featuring an authoritative and kaleidoscopic guitar solo from Shepik and an eloquent, tonally pleasing statement by Vollbrecht. 

“Lá Lauê” bustles with the exoticism and Afro-Brazilian rhythms of Capoeira. Opposing to the stillness of the intro, we have lively snare drum activity, funky guitar comping, and expressive solos, again by Shepik and Vollbrecht. The guitarist also contributes to the rendition of Paul Motian’s “Mumbo Jumbo”, an excellent vehicle for the rhythm section’s illuminating grace. Volozh articulates every nook and cranny of the tune, benefiting from the presence of two former members of Motian’s groups - Shepik and Harris.

Other covers of known jazz pieces are given a new set of bones. Take the example of “Star Eyes”, whose fresh reading combines complex meter and clever polyphony for a non-linear pulse; or McCoy Tyner’s “Aisha”, a laid-back ballad that enriched John Coltrane’s 1961 album Olé Coltrane; or Thelonious Monk’s “Evidence”, astonishingly structured with tempo-shifting sections.

Volozh’s drumming style reflects open ears and an uncompromising posture, showcasing his influences throughout a repertoire with tasteful arrangements. It’s an impressive debut album; one that listeners of contemporary jazz will like to revisit.

Favorite Tracks:
01 - Adoration of the Earth ► 02 - Vortex ► 04 - Star Eyes

Kuba Cichocki - Flowing Circles

Label: Brooklyn Jazz Underground, 2023

Personnel - Kuba Cichocki: piano; Lucas Pino: tenor saxophone; Brandon Seabrook: guitar; Bogna Cicinska: vocals; Edward Perez: bass; Colin Stranahan: drums; Rogerio Boccatto: percussion (#8); Patric Breiner: saxophone (#8); Rose Ellis: vocals (#8); Leonor Falcon: violin (#1,6,8); Sana Nagano: violin (#1,6,8); Benjamin von Gutzeit: viola (#1,6,8); Brian Sanders: cello (#1,6,8).

Following a splendid duo album - Brisk Distortions - recorded with guitarist Brandon Seabrook, Polish-born, New York-based pianist Kuba Cichocki expands views in Flowing Circles, a set of 10 new compositions. Their acutely structured forms lend the music its loose elasticity. Among the relentless creative minds joining Cichocki in this sonic journey are the aforementioned guitarist, a stalwart in New York’s improvised music, and saxophonist Lucas Pino, who, in addition to his solo efforts, has been featured in trombonist Nick Finzer’s albums. Special guests (including a string quartet) grace specific tracks, while the core sextet is complemented with Polish vocalist Bogna Cicinska, bassist Edward Perez, and drummer Colin Stranahan.

“Quirks” opens the record as a joyous flight of fancy, unleashing speedy angular unisons with a fanfare-like vibe. Bouncy passages with staccato emphasis and counterpoint are reinforced by strings (violinist Sana Nagano and violist Benjamin von Gutzeit are featured), topped by solos from Cichocki, who gets melodically rich without overplaying, and Pino, who displays his classy post-bop phraseology with precision. Before concluding, there’s a change of pace in a section that feels playful and stout-hearted.

The instrumental layers illuminate “Where the Selves Meet”, which acquires a powerful contemporary feel with the aid of a ruminative guitar that keeps scratching the surface with distorted eccentricity. Pino, brightening and tightening the frontline, blows the tenor with eloquence and a lovely tone, and then is Seabrook who invents a quirky accompaniment to support Cicchocki in the final chamber section. 

Soulfully psychedelic and rhythmically pumped up, “Blob Jump” sees the group playing with the flow through multiple sections of escalating energy. The so-called ‘Slavic melodicism’ is brought into mutable folk-influenced cadences, but for the finale, they allocate a rock impulsivity with salient guitar. Contrasting with this exuberance, “Birthday” is a soberly intense piece with Cicinska’s confident voice on the edge, embarking on intervalic complexity with the piano.

“First Smile” concludes the album with European classical elements crossing with impressionistic modern creative chops in a solo piano playing. But before that, there are still time for a couple of fully improvised numbers - the more abstract “Nooks and Crannies” and the funk-meets-post-bop experiment, “Keep Moving”.

Favorite Tracks:
02 - Where the Selves Meet ► 04 - Blob Jump ► 06 - Birthday